“You never know where your next opportunity will come from. Be kind to the cashier. You never know who’s watching and thinking, ‘That’s someone I’d want on my team.’”
Wendy Garcia is an alumnus of the Department of Cinema and Television Arts. Following graduation, she worked in news as a Producer for KESQ News Channel 3 Palm Springs, as an Event Coordinator for events such as Coachella and Stagecoach, and has most recently been the Multimedia and Programs Manager for Parkinson’s Resource Organization.
Kemdi Nwosu:
So the first question I have is: What inspired you to pursue a degree in film, as
opposed to any other path you might have been considering at the time?
Wendy Garcia:
It was a pretty easy decision for me. I’ve always loved movies. I grew up watching tons of them,
and I got excited about the behind-the-scenes aspects. When I first started watching films, it
was on VHS, but once DVDs came out, they started including director’s commentaries and
special features. I would study those. I wanted to know how they made the cool stuff
happen—how they brought certain scenes to life.
I’d watch a movie once all the way through, and then I’d rewatch it with the director’s
commentary or cast commentary. I was in sixth grade at the time, and once we started using
computers in the classroom, I began doing more research into how movies were made. It just
became something I was obsessively passionate about.
So when it came time for the high school guidance counselor to ask what I wanted to study in
college, I already knew. I said, “I want to make movies.” I didn’t know in what capacity exactly,
but I knew that’s what I wanted to do. The counselor looked a little disappointed that I didn’t say
something like “doctor” or “lawyer,” and she told me it would be hard to find a job. But I didn’t
care. I thought, I get one good shot at studying this—why not go for it?
I was lucky that there was a program in the Palm Springs area—a kind of regional occupational
program through the high school—where they trained students in TV production. I figured, why
not try it? That’s where I picked up my first camera and started shooting. Looking back, those
early student films are super cringey, but they got me hooked.
After that, I took more electives—there was a rock and roll class, a pop culture class where we
watched films—I loved all of it. It made the transition from what I enjoyed doing to what I wanted
to study feel natural. And now, it’s what I do for a living.
Kemdi Nwosu:
And then, in terms of choosing colleges, what made you decide on Fullerton as your school of
choice?
Wendy Garcia:
Oh my God, that’s a funny story. I put all of my energy into getting into USC. I wanted to go
there because, you know, all the great filmmakers go to USC. I worked hard, got the
grades, joined all the right extracurriculars—everything I thought I needed to get in.
And I did get in. They offered me a pretty decent scholarship package, but it wasn’t enough to
cover everything. Fullerton was my backup, and to be honest, I didn’t know much about it at the
time. I hadn’t even toured the campus when I sent in my acceptance letter. I just thought it’s
close enough. Why not?
Eventually, about a week before I moved in, I finally took a tour. That’s when I realized—this was
a really good choice. They showed us Titan TV and the Titan studios, and I immediately fell in
love. I told myself, I’m going to work my butt off while I’m here and make the most of it.
Kemdi Nwosu:
Another thing I wanted to ask—what were some of the classes and professors that were most
essential in shaping the person you are today?
Wendy Garcia:
Oh, that’s a loaded question!
I learned the most from a class that wasn’t even part of the CTVA program—back then,
it was still called RTVF, Radio-TV-Film, before they switched it over. The class that
impacted me was Stage Management from the Theatre Department.
It’s a lot like the advanced production classes you take in CTVA. I don’t know if that’s still a
thing—is Jeremy is still teaching that?
Kemdi Nwosu:
Yeah, it’s called Production 2 now.
Wendy Garcia:
There you go—that one! So, freshman me was like, I’m not going to wait until my senior year to
start learning production skills. I started volunteering with the Theatre Department and wanted
to work with actors, costume designers, props, and scenery. I wanted to learn everything—how
to get the rights to things, how to handle a crew. But they wouldn’t let me take the class unless I
was officially in the department, so I switched majors for a short period just to enroll.
Once the grace period was over, I switched right back to CTVA.
I took that class early on in my time at Fullerton, and I learned so much. I worked on a ton of
shows—Carrie, Hearts Like Fists, Xanadu. These were shows that blended theater and
film. I remember thinking Hearts Like Fists felt like Charlie’s Angels, and I was like, Yes, I want
some of that! And the Carrie remake with Chloë Grace Moretz had just come out that year, so I
was excited to help with all the telekinesis stuff and the practical effects.
I was also working at the university’s IT department at the time, so I’d be up at 6 AM for that job,
and then stay at the theater until midnight. It was intense. Eventually, when I left that job, I got
more involved with Titan TV, and everything I’d learned in that stage management class
transferred over to floor directing.
That was one of the most impactful classes. Another one was the History of Film classes. They
gave me a deep appreciation for the tools we have today. We had a whole unit on editing 16mm
film—and honestly, it sounded like a nightmare. I remember thinking, I’m so glad we have
Premiere and DaVinci now. And now there’s CapCut, which I think is picking up steam. I’m
curious to see how that continues to grow.
Production 2 was also huge for me. That class helped me cement my skills. I got to work with
Jeremy—I think his last name was Warner? He taught a producing class, and he broke down
exactly what a producer does. I fell in love with it. That’s my favorite part of production—being
involved in pre-production, production, and post. I like knowing how everything fits together and
helping steer the project from start to finish.
Another professor who influenced me was Gary Hart. Is he still the head of the department?
Kemdi Nwosu:
He is—luckily, yes!
Wendy Garcia:
Oh, I love him! I remember in one of his classes, he did a little survey. He asked, “Who loves
film because of the art?” Half the class raised their hands. Then he asked, “Who loves it for the
business side?” And I raised my hand. He said, “Good. You’re still going to need a budget and
payroll to make your films.”
That really stuck with me. He made me realize that filmmaking is both an art and a business.
You can’t have one without the other. You need the idea, but you also need the resources to
make it happen. He helped me appreciate both sides of the process, and that’s been a huge
part of how I approach my work today.
Kemdi Nwosu:
Do you think there are aspects of stagecraft and stage management that carry over into
filmmaking?
Wendy Garcia:
Absolutely. Whether you’re building a set for a live show or a film, a lot of the principles are the
same. I remember working on the old Titan TV sets — the ones with the chicken wire — we
built those ourselves. Jeff and I would go to Home Depot and Lowe’s to get materials,
rig up Christmas lights, and design backdrops. There was even this big purple curtain that
looked like a cityscape—we mounted that ourselves, too.
The big difference between theater and film is that in film, if someone messes up, you can do
another take. But in theater, it’s live — if you mess up, everyone sees it. So in that way, theater
is harder. I learned the most from working in theater because you only get one shot to get it
right.
For example, I once twisted my ankle while moving a set piece during a show, and I had to
quietly exit without disrupting the performance. In film, everything is more controlled. Sets are in
place before anyone steps on them, and if there’s any movement or rigging involved, you plan
and rehearse it multiple times before you ever roll the camera.
Kemdi Nwosu:
Let’s talk about Titan TV. What was it like working there—and rising through the ranks, since I
know you didn’t stick to just one role?
Wendy Garcia:
Honestly, Titan TV was the best time of my life. I wouldn’t be where I am today without that
experience. It gave me a deep appreciation for every aspect of production—audio, camera
work, gaffing, set design, floor directing, directing, technical directing, editing—you name it. I
was always eager to learn. If I didn’t know how to do something, I’d go straight to someone who
did and ask questions.
I started out as a camera operator, which was simple—just follow directions. But that role taught
me something big: if you don’t know how to do something, ask. You could spend an hour trying
to figure it out yourself, or you could spend two minutes getting the answer from someone who
knows.
Eventually, I stepped in as a floor director when they needed someone, and I held that role for
about a year. Then Jeff approached me and said they had an opening for a studio manager. I
said yes immediately.
That’s when my responsibilities really grew—I was now overseeing all the shows, making sure
everything ran smoothly. I made sure talent was on time, audio was set up first, cameras were in
place, and mats were laid out to prevent tripping. Safety was a huge priority for me. I didn’t allow
people to walk around barefoot or in sandals, especially after big construction days. I just didn’t
want anyone stepping on a nail or a stray bit of metal.
By the time I graduated, I was the studio manager, and I was proud of that.
Kemdi Nwosu:
So graduation hits, and you kind of go through this post-grad period. What is that like for you?
Are you immediately job hunting, or do you take time to relax?
Wendy Garcia:
For me, it was brutal—just absolutely brutal. I worked two jobs while being a full-time student.
My whole life revolved around school. I’d get there at 8 a.m. and leave at midnight, day in and
day out for four and a half years.
When I graduated, I couldn’t renew my on-campus job contract. I wasn’t a student anymore. So
suddenly, I had no job, no school—my whole life just collapsed.
That’s when I realized how strong the Titan TV community really is. I was one of the few who
graduated unemployed, but the support I found there meant everything.
I was lucky to have paid off my debt before graduation, but I walked away with just $27 to my
name. That was it.
Kemdi Nwosu:
That’s terrifying.
Wendy Garcia:
Yeah, and that’s where connections really matter. A friend reached out right before graduation
and said, “Hey, I’m working on a film—want to PA for a couple of days?” I didn’t have gas money
to get to L.A., but I borrowed some and made it work. Just a little indie film that no one thought
would go anywhere.
Yeah. It felt like Disneyland, honestly—better than Disneyland. Everyone knew what they were
doing, and I didn’t. I had this massive impostor syndrome. But they handed me a headset and
put me to work: running cables, helping with costumes, getting actors to the set. I picked up sewing from
wardrobe, learned touch-ups from hair and makeup, and spent time with props and the art
department—even if it was just a day or two.
That short gig shaped my love for the industry.
Kemdi Nwosu:
Incredible.
Wendy Garcia:
Eventually, I turned to Gary Hart. Since I worked in IT, I was always fixing his podium before class,
so we had a good relationship. I told him, “Gary, I’ve submitted 600 applications. Not one
interview. What am I doing wrong?” He reviewed my resume and connected me with a few
people. I got some informational interviews, which led to a small gig on American Gods at
Fremantle, working briefly on Season 2, going into Season 3.
Those relationships I built? I still keep in touch with many of them. You have to maintain those
connections, like a comment on LinkedIn, a quick message. That networking is what ultimately
got me my next job.
It still took nearly a year to get from graduation to full-time work. And when American Gods
didn’t get picked up again, I was out of work again. I had to move back home to Palm Springs.
Kemdi Nwosu:
That’s a hard reset.
Wendy Garcia:
It was. But I was fortunate to have Beth Georges, another journalism professor. I told her, “I
hate news, but if it gives me a steady paycheck, I’ll do it.” She connected me with someone in
the desert, and that led to my job at KESQ—a news station affiliated with ABC, CBS, Fox, and
Telemundo. I worked there for three years. It was tough. It was brutal. But it was also the path.
Kemdi Nwosu:
I mean, just wow to that answer. That was an amazing kind of roller coaster ride
right there. I wanted to know—what would a normal day look like at… sorry, I wrote down CBS
because that was the first thing I saw when I checked your—what did you say the station was
called again?
Wendy Garcia:
The station was called KESQ
Kemdi Nwosu:
Thank you.
Wendy Garcia:
It was an ABC, CBS, and FOX affiliate with a Telemundo side.
The first thing you’ve got to understand is—it’s news. So you’re always on call. And I think that
was the hardest thing for me. Going from, “Oh, we’re just doing a show—it’s going to take four
or five hours—and then you go home and come back the next day.” News was a beast. It still is.
I have huge respect for the people who continue to do it. It’s nuts.
They gave me the graveyard shift—basically, the shift no one wanted. It was technically a 4 AM
start, but I’d get there at 2:30 because I needed the extra time. I was in charge of getting all the
material, all the video, writing the scripts, creating the chyrons, working with the
talent—everything for a full hour-long show.
When you’re writing for news, you have to write in the way the anchors speak. You start learning
their cadence—how many words they get through before they breathe—and you time your
scripts to that. And then, of course, there’s timing the show itself, making sure you hit your
commercial breaks and clicks. It was very stressful. I didn’t have any assistants—the entire
show fell on me.
My shift was from 4 AM to 1 PM, but there was no way I could get all that done in six hours. One
of those hours was for lunch, and one was for the actual broadcast, so I had to come in early.
Even when I went home, I wasn’t off the clock. I was still getting calls: “Hey, since you’re headed
home and passing that area, can you get some B-roll? Do an interview? Send it in?” So even as
a producer, I was also a reporter.
I got sent to cover shootings and police standoffs. That wasn’t my job, but there was no one
else. And it was terrifying. Shots were fired. That was one of the moments where I was like,
“You know what? News is not for me.” I want to meet Jesus, but not that fast.
You never knew what your day would look like. You had a plan, but it rarely went that
way—especially when the pandemic hit. I was one of the first people to report on it at my
station, just because it happened to be on the weekend. I saw this story about a drone following
a little old lady in Wuhan, telling her to put her mask on. At first, I thought it was funny and put it
in my weekend show. Two months later, when the whole world shut down, it wasn’t so funny
anymore.
My show aired at noon, which meant it lined up with Governor Newsom’s press conferences. So
I’d prep an entire show, knowing full well that he could start speaking and blow everything up. I’d
have to start producing live, taking notes as he spoke, writing a summary for the anchors to
read at the end, updating banners and visuals in real time. It was chaos.
But it taught me how to think on my feet. You don’t have time to react. You just do. You always prepare plan A, but you end up using plan B most of the time. So yeah, it felt like a constant “brace for impact” situation. That was my experience. Some of my former coworkers still do news and love it. They’re thriving. They have a huge passion for it. A few of us, though, realized it just wasn’t for us.
Kemdi Nwosu:
Well, this kind of answers my next question, which was about your shift to becoming an event
coordinator. I assume you wanted a career change—maybe something a bit easier. But what
specifically made you choose event coordinating instead of going back into film or something
else related to your major?
Wendy Garcia:
At the time I left, COVID restrictions were just starting to lift, so the film industry hadn’t bounced
back yet. They weren’t hiring, and I knew that wasn’t going to change anytime soon. So I had to
put that on pause.
The reason I got into events is actually kind of funny—literally across the street from the TV
station, there was an event rental place. On my way into work one day, I just walked in and
asked, “Do you have an application I can fill out?” It was one of those “if it works, it works”
moments. I interviewed, and a week later, they made me an offer. I just wanted out of the
news—I was done.
I told my news director I was leaving. She tried to talk me out of it, saying they still needed help.
And I said, “Okay, well, either I leave in two weeks, I can train someone, or I leave now and take
a vacation. I’m fine either way.” She didn’t want me to go, but the general manager, whom I was
friends with, told her, “Just let her go.” He could see I wasn’t doing well in the newsroom.
So I started working at events. The first thing I did? Weddings—of all things. It was a good
change of pace. Going from covering school shootings to celebrating life and love? That shift
helped a lot mentally.
From weddings, I got promoted to managing large-scale events, with over 800 people. My first was
a four-day event for Ernst & Young, which was huge. A lot of high-profile CEOs attended, so I
had to be super professional. That’s when I realized events are just another form of
production. I was working with AV crews, organizing power and generators—it was still
production, just in a different format.
Eventually, I started doing big-name events: PGA golf tournaments, the last ANA Inspiration
here in the desert (which I grew up watching), Coachella, Stagecoach—you name it. I still have
the sunburns to prove it!
It was a ton of work—weeks of planning, long nights, constant coordination. But through all of it,
I realized how much I love production. That clarity helped me figure out what I wanted to do
next: something more communications-related.
So, I left events with no plan, no job lined up—I just knew I was done. I needed a break. I was
tired of dealing with “Mother of the Bride” drama over the tiniest details.
During that break, I started connecting with people in the nonprofit world. Someone told me
about a local fundraising luncheon, so I went. And I got hired straight from that event!
I started working at a nonprofit that helps people with Parkinson’s and their families. At first, I was just managing the calendar, sending emails, helping out on Zoom calls, especially helping senior citizens navigate the tech.
Eventually, I noticed they had a YouTube channel, and I thought, “Hey, why not start a podcast?”
I did a few tester videos, and they started getting some traction. More subscribers rolled in, and I
thought, “Okay, let’s see how big we can take this.”
I grew up in the desert, so I know a lot of people—some in government, others in medicine—so
I started reaching out. I asked one of my friends, a doctor and congressman, if he’d be my first
guest on the podcast. He said yes.
That’s how we launched the Together in Parkinson’s podcast. I took their YouTube channel from
176 subscribers to over a thousand. A lot of hard work went into building and designing that
podcast.
Kemdi Nwosu:
Wow! That was great. I’ve kind of already asked most of my questions. I
only have one more, and it’s sort of a two-parter. You already touched on the first part, which is:
Do you see any future career shifts? But the second part is—do you feel like you still have
anything left to achieve? I mean, you’ve already had a lifetime’s worth of experience.
Wendy Garcia:
It’s been a crazy roller coaster ride since graduation. But yes, I want to get back
into filming. That’s where my passion lies. A friend recently asked me to help with a last-minute
movie shoot for a nonprofit that raises money for women in film, specifically female students
going into the industry. I thought, “Why not? I’m not doing anything right now.”
So I jumped into the project. The first shoot day was on a Saturday. I’ve always been that
overachiever type, so I showed up ten minutes early. No one else was there yet—just me and
the makeup guy. I looked around and thought, “Okay, here’s where video village will be, this is
where the set is, craft services will probably go here…” So I just started setting up snacks.
Everyone on a film set wants snacks!
It felt like home. Like that feeling when you walk in, take off your shoes, drop your bag by the
door, and finally sit down on the couch. That’s what it felt like—like I was home. I hadn’t felt that
way since I was at Titan TV, and that was when I was the happiest. I was broke, but I was
happy.
A couple of hours in, the first AD showed up and said, “Hey, I need help. Want to be second
AD?” I said, “Sure, let’s do it.” We ended up shooting for 11 hours those two days—it was
intense. Halfway through, I remember thinking, “Wow, I am so out of shape for this.” I wasn’t
used to standing for that long anymore. But it felt so good to be back on set. People were talking
about obscure movie references—like you’ve got Army of Darkness behind you. Once you leave
the film industry, no one gets those references anymore.
It’s frustrating. You have this encyclopedia of movie knowledge, and no one understands it.
When I was at Parkinson’s, no one even got the Family Guy Star Wars episode with Herbert.
But on set, everyone gets it. Or you mention a cool shot from The Force Awakens, and
everyone knows exactly what you’re talking about. That’s when you realize: these are my
people. This is my tribe.
So yeah, I’m slowly but surely moving back into the film industry. I just want to get back to where
my art is.
I don’t know how far along you are in your classes, but man, it was such a great feeling to read
a DOOD (Day-Out-of-Days), a call sheet… even your script pages, breakdowns, sides, the shot
list. Just hearing everyone on the headset, and then when someone calls the Martini shot—you
get excited. Like, “Yes! I can sit down for five minutes!”
I don’t know how to explain it fully—it’s like getting a new Energizer battery in your back. That’s
what it felt like. And I just want to get back.
Kemdi Nwosu:
Thank you for that. That was a great answer.
Wendy Garcia:
Oh, you don’t have to kiss up. I’m weird. I know I’m weird.
Kemdi Nwosu:
I feel the same way now in film school with the references. Sometimes I’ll say something and people just kind of stare and go, “Yeah… okay.”
Wendy Garcia:
That’s something I struggled with a lot, especially in my last job. My boss was
an English major—really into grammar and structure. And I’m just like, “No one talks like that.
Why are we writing like that in emails?” People want a personal voice.
I tried to explain that to her, and she’d say, “This doesn’t make sense.” And I’d be like, “It’s like
Anchorman—you’ve seen Anchorman, right? Ron Burgundy? No one talks like that.” Or The Truman Show. And she’d just stare blankly.
It felt like talking to a wall. There were so many things I tried to explain with movie references, but she never understood them.
At one point, it was just the three of us doing the work of seven people. So I said, “Let’s bring in
some interns.” I started an internship program.
And I don’t believe in unpaid internships. It’s a job—you should be paid for your work, or at the
very least have gas money. So I talked to a few friends at local colleges and asked if they had
scholarship funds or anything. I wanted to get an intern and make sure she got paid. She’s still
there now, even though I’ve left—still getting paid.
And she’s a film student. Talk about film people helping film people.
I was teaching her video editing, how to use all the tools we had. Canva is a big one out here,
especially in the nonprofit world. It’s cheap and easy to use—not everyone knows Illustrator or
InDesign. I told her, “Just because you have a template doesn’t mean you shouldn’t make it
your own…”
Kemdi Nwosu:
I would say this has probably been one of my favorite interviews this semester, so thank you for
that.
Wendy Garcia:
Well, I mean, if you ever want to do it again and want something more generic and polished, I
could give you the “Peachy” version. Like, “Graduation is awesome! You’re going to be fine!” But
no—it’s not always like that. Maybe for some people who already have jobs, sure. But I didn’t,
and it was brutal.
Looking back, I wish I had been kinder to myself during that time when I was unemployed after
graduation. Graduating is a big deal. It’s a huge accomplishment. You’ve done so much
work—late nights, running around, skipping meals just to make it from class to class. That’s a
lot. Take a vacation. I know it’s hard financially, especially in this economy, but take time to enjoy
not being employed. Enjoy not having homework. Enjoy not having to email your professors for
extensions. Just be you for a little bit.
If you love watching movies, go to the theater. And keep your student email—I didn’t, and I
regret it. Forward a few important emails to your one if you’re not planning to use it again. The
student discounts are amazing. Keep your student ID, too; you can get great deals with that
thing. I lost my wallet, and I wish I still had mine.
But seriously, be nice to yourself. Take time to say, “You know what? I did good, and I need a
break.” Just sit in your room and exist. Scroll through Instagram if you want. Take a day to do
that. Talk to people, reach out, network—please focus on your networking.
Go to networking events. Cal State Fullerton had a great printing program when I was there.
Print out some business cards. They don’t need to be fancy—just your name, number, email,
maybe a QR code to your LinkedIn. And start putting yourself out there. Be kind to everyone
you meet. You never know who’s watching or where your next opportunity might come from.
For example, when I was working on getting that podcast off the ground, I reached out to a
meteorologist friend at the news station. He also did radio, and I had no idea how to even start.
He invited me to shadow him at a bar where they were taping a podcast episode. I brought my
little iPad and pencil, ready to take notes.
The guest showed up, and I noticed my friend was excited. He’s a big Star Trek fan—not Star
Wars, he gets mad if you mix them up—and I could see how thrilled he was. I couldn’t hear
much since we were in a corner booth and the bar was loud. But after the taping, they invited
me to hang out, have some fries, a drink, and just talk.
I ended up chatting with this fabulous woman who came with the guest. She spoke Spanish—I
do too—so we hit it off instantly. We talked about music, art, the entertainment industry… just
everything. When she had to leave, we exchanged numbers. I asked her how to spell her
name—Lucy with an “ie”—and I said I liked having last names for my contacts.
She said, “It’s Arnaz.” And I was like… “Like Lucy and Desi?”
She goes, “Yeah, that’s my dad.”
And I was just… stunned. I had been sitting next to Lucy Arnaz the whole time. I had just poured
my heart out to her about how hard it is to break into the industry, and she was right there. No
one would’ve believed me if I didn’t have a picture from that exact day.
Now we get together for coffee or lunch and just catch up. We make time. So when I say, “You
never know who you’re going to meet,” I mean it.
And now, I’m still meeting fellow alumni who’ve helped me, and I want to pay that forward. If
anyone from the next graduating class needs help, wants an informational interview, or even
just a coffee chat—if they’re in my area or I’m in theirs—I’d love to do that. Reach out to fellow
Titans. Most of us are happy to help. At least I am.
Kemdi Nwosu:
Alright. Well, thank you again. This has been amazing.
Wendy Garcia:
Of course, take care
